What I was pleased when I read a few months ago that the receives Bavarian National Theater in the fall Rusalka in the game plan!
My favorite opera! In Munich! In Originalprache!
I was ecstatic.
No discussion - cards are needed.
premiere? Sold out.
The following ideas? Already plenty full, but I was early, so far there's two places for the sweet (whose enthusiasm for this fact is kept in check ....;)) and me!
(pre) joy, jubilation and enthusiasm.
me at any rate. ^ ^
Last night it was so far and, shortly after 19 clock in the curtain rose for the much-discussed new production of Martin Kusej.
way without my darling, because Pakpatzsuche came too late and was therefore let in only the second act. I shall now no calculation, and must also confess - I have hardly noticed his absence. I fell without resistance in a Czech lake ...
Yes, what can I say?
I had terrible looking forward to this evening and the music was great as it always is. Kristine Opolais was a gorgeous, seemingly nigh spherical Rusalka, which moved me to tears in their desperation, Günther Groissböck gave the Aquarius with a compromise that is second to none and the rest of the ensemble delivered an impressive performance.
The orchestra, under the virtuoso performance by Tomas Hanus was a revelation and if you closed your eyes, you felt the music hinfortgetragen formally in those enchanted fairy forest.
And here comes the snag.
opening could be the eyes that is better not.
What Martin Kusej stage with disturbing and rather idiosyncratic interpretation as " psychological portrait of an abused and outcast from the world wife" does to those wonderful, fairy-tale opera, borders on rape and related harmonic is it off too. Since moving music, libretto and visual representation not only pass each other - they collide, drift apart diametrically and in part it is possibly even more unintentionally funny encounter as inconsistent with the text and - most of the time but it is with some dumb horror and wonders what must have terrible emotional problems for the director well that he is a fairy tale in this form and way (to) points.
the end of the first Act, there is a touching scene when the prince his newly discovered Rusalka to be called with the words ". .. to our time to the end / is my story, stay with me !"
The director has not to Heart taken. Almost everything is already systematically deconstructs Fantastic and beautiful and good and reinterpreted every harmless word to its absolute perversion.
For me personally, was finally the 3rd Act at the worst - the gap between image and libretto is so huge now that nothing gets together and the Magic Forest is nurmehr a delusion in the empty eyes troubled girls in the mental hospital.
imagination as a disease.
not the lesson that one should take my opinion, from Dvorak's most successful opera ...
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